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It is not a perfect film, it has flaws, the most obvious being the pseudo psycho babble that could have been achieved with greater effect by having said less, but having said it better. It is a romance, it is romantic, it is sexy, and it is a slice of life, their lives, a small part that keeps the rest of their lives from being without charm. There is no need to contemplate the past or their futures but the moments that make the present happiness complete. The film proves that sex between mature adults can be beautiful, and not bound by the petty mores of witless societies that demand sex take place between pnuematically enhanced teenagers and souless males who would not understand the rhythms of sex without a street directory. Nathalie Baye was 51 when she made this film and has an attractive body, but she has a great way of making herself erotically desirable. Any person that has never laughed, joked or cried during sex has not had much good sex. It is the casual and caring ease between the leads that demonstrates how sex can be imtimate and romantic and caring. The people who call this movie cold have looked at it from the director's eyes and have failed to capture the warmth of the two leads. The title, I think is in the French style of ironic (a word missing from the American dictionary) rather than the British sense of the word. While the British treat irony like a Shakespearean tragedy the French equate it more with the "little death" and regard it more as humour tainted with pathos. The French idea of tragedy is to leave the ending out of movies, but perhaps I am over using irony here. If you have 80 minutes to spare to think about the relationships in your own life, then this little movie just might help you explore your own heart a little more. And remember a movie without flaws is called, "Looney Tunes."

An ad in the paper with a specific sexual fantasy asked for. A meeting of 2 strangers, who remain so both to us and to each other. A subtle deepening of feelings for each other...this movie is so delicate it is like gossamer. Nuances of looks, smiles, movement. "Elle" winds up a little harder, "lui" a little softer. I was spellbound by it. Recommend it to those who like their movies to stay with them for a while. Great acting and direction.

In the search for intimacy and meaning in the dehumanizing urban environment, quite personable, intelligent and attractive people have to resort to newspaper or online ads to meet someone for romance or just companionship. In this film, however, a man and woman, both attractive and personable, seek depersonalised sex, not involvement. Or so they thought. Of course they become emotionally involved, and then the question becomes: will they continue?

This is a very nicely judged piece using a combination of interview sequences intercut with flashbacks. There are no distractions: we focus almost entirely on Nathalie and Sergi as they are interviewed separately about their affair. Their versions are not identical but there is only one flashback version of each encounter so there is not a lot of confusion. The curious thing is that although intimacy develops it follows the rules of the original impersonal pornographic encounter – no names, no talk about jobs and families and friends, no swapping of personal detail. They meet once or twice a week in the same coffee bar and hotel room for six months or more, yet still know virtually nothing about each other (apart from their sexual fantasies). Why this holding back? Neither is currently attached to anyone else. The only explanation is that they really didn't want to get involved, or don't want to take the risk. Burned before? Who knows?

Nathalie Baye as the (slightly older) woman is poised, charming and not obviously hung up about sex. She seeks the zipless f*** of feminist legend. She does have trouble expressing her feelings – for her `I love you' are the hardest words in the language (all right, `Je t'aime'). Sergi Lopez as her homme de jour is a bit more emotionally expressive but still holds himself back.

I suppose one could see the film as suggesting that the alienation of modern life can be traced to an unwillingness to become emotionally attached, that life is faster and cleaner if relationships are disposable without much pain. These two want intimacy, but they don't want to pay for it.

It's a well-made movie with plenty of Parisian bustle and lots of nice close-ups. It's all a bit sad, though. Have we been reduced to being consumers of personal relationships as well as sex?

Une liaison pornographique can trace its textual roots to another tri-national production made over 25 years ago called "Last Tango In Paris" in which an Italian director (Bernardo Bertolucci) used Paris as a backdrop to explore the possibilities of sex as identity in a highly dysfunctional relationship. Now Belgium director Frederic Fonteyne uses Paris to explore the lives of two people who define their relationship initially as nothing but physical gratification. Their knowledge of each other's lives is minimal at best recalling Marlon Brando's demand of his partner in Last Tango that he wanted to know nothing of his female cohort thereby defining the relationship through a mutual ignorance. But where that film ceaselessly rotated around Brando's sulleness, une liason pornographique succeeds as a mature and thoughtful meditation on the nature of relationships and how healthy sex can actually serve as a positive introduction into understanding emotional complexities and thereby underscoring the irony of the title of the film. A finely tuned performance from French acting veteran Nathalie Baye, who at the age of 52, communicates an unforgettable sexual and sensual presence throughout the film complimented by intelligent and accesible dialogue make une liaison pornographique a truly good film and while its characters do not escape sadness, the emotions and ideas that are communicated honour the film's creators and their audience. Highly recommended

Her (Nathalie Baye) places an ad in a magazine looking for a sexual partner to share her fantasy. He (Sergi Lopez) responds. They meet in a bistro on a gray afternoon in Paris and proceed to a nearby hotel. Their coupling is very

satisfactory to them and they proceed to other encounters. All this is told in flashback with both speaking separately, and wistfully about what happened

and how it ended.

This is a fascinating story, appealingly told with sureness by director Frederic Foteyne and his attractive, expressive leads. Yes, their affair is casual, sexual and without the usual "meeting cute" baggage. Actually, I thought she was the engine that began and ended the affair. Lopez's character seems to be far more emotionally involved as the affair progress than Baye's. He responds to her

responding to him and you can see him falling for her. Her speech to him about her feelings is quite startling and you think, maybe he's going to seek her

commitment.

A happy ending, though this is not one of those silly tearjerkers where you sit there embarrassed, would have been wrong and it's very satisfying. I loved this small, quiet, movie. The sex is very discreet. The dialoge is direct and thank goodness this is not a wordy movie. It doesn't need it. It's got a very good director in control of his material and two fine leads who tell you all you need to know.

I just discovered Sergi Lopez was the villain in DIRTY PRETTY THINGS. He's a terrific screen presence.

Someone mentioned CHAOS (in connection with their review of this film),

another French film I recently discovered. Two more mature, well-written, well- acted and directed films could not be imagined. Highly recommended.